The Pope of Greenwich Village

Based on the novel by Vincent Patrick, The Pope of Greenwich Village is the story of two cousins who decide to go into crime to help fund their dreams of owning and running a restaurant. Directed by Stuart Rosenberg and screenplay by Vincent Patrick, the film is an unconventional crime-drama that follows two men trying to do whatever they can to get money as well as go head-on into the world of crime. Starring Mickey Rourke, Eric Roberts, Darryl Hannah, Geraldine Page, Kenneth McMillan, Frank Vincent, M. Emmet Walsh, and Burt Young. The Pope of Greenwich Village is a witty and exhilarating film from Stuart Rosenberg.

The film follows two Italian-American cousins working and living at the Greenwich Village area of New York City as they dream of being successful and run their own restaurant where they go into the world to crime to fund that dream. It’s a film that is about two guys trying to do what they can yet they deal with so much adversity as well as the fact that one of them is a total screw-up and the other is cautious with a lot to deal with. Vincent Patrick’s screenplay explores the unique dynamic between Charlie (Mickey Rourke) and Paulie (Eric Roberts) as these two cousins who both want to succeed yet Charlie is someone that is trying to work hard and do things the right way. Paulie is a guy that likes to scheme and often put Charlie in trouble as the film begins with Charlie working as a maître d’ at a restaurant where Paulie is the waiter who gets Charlie in trouble and they both lose their job.

Paulie gets a tip about money stashed in a safe as he coerces Charlie to be involved as they’re joined by a locksmith/clock repairman in Barney (Kenneth McMillan) as their safecracker. The job succeeds except for an encounter with an undercover policeman (Jack Kehoe) that went wrong as Charlie then learns who the money belongs to which causes even more trouble. Adding to Charlie’s problems is that he is paying alimony to his ex-wife as they have a son and his girlfriend Diane (Daryl Hannah) is pregnant with his child as he is trying to do good things for her. Still, Charlie has a loyalty to Paulie which irks Diane since she knows that Paulie is an idiot and always find a way to mess things up. Even as Paulie would be confronted by hoods who work for the mobster Bed Bug Eddie (Burt Young) including Paulie’s Uncle Pete (Tony Musante) forcing Charlie to settle the matter.

Stuart Rosenberg’s direction does have bits of style yet much of it is straightforward as it is shot on location in New York City and in the Greenwich Village area with some of it shot in New Jersey. While Rosenberg would use a lot of wide shots that would create some unique compositions of the characters on a roof with certain city landmarks in the background. Much of the compositions Rosenberg creates are intimate with its close-ups and medium shots that includes a key meeting between detectives and the mother of the dead undercover officer as it’s a very chilling moment due to what happened to the undercover officer and his mother’s reaction. There are scenes of humor in the film yet much of it is dramatic with some stylish dialogue as it play into the environment of the film. Rosenberg’s direction also play into this world of the streets where it has its own rules and idea of justice as it’s something Charlie is fully aware of while Paulie is sort of ignorant about it thinking he can charm or bullshit his way out of a situation. The third act revolves around Paulie dealing with the consequences of who he stole the money from and the fallout of those consequences in which Charlie realizes what he has to do. Yet, there is a sense of conflict in Charlie in whether to help out someone that is family or to save himself. Overall, Rosenberg crafts a lively and engaging film about two cousins going to crime to fund their dream.

Cinematographer John Bailey does brilliant work with the film’s cinematography with the richness of some of the daytime exterior scenes as well as the usage of low-key lights for Bed Bug’s hideout in its interiors and the usage of lights for some of the scenes set at night. Editor Robert Brown does excellent work with the editing as it is largely straightforward to play into the drama and the few moments of suspense such as Paulie being confronted by his uncle. Production designer Paul Sylbert and set decorator George DeTitta Sr. do fantastic work with the look of the restaurant Charlie and Paulie work at in the film’s opening sequence as well as the former’s apartment and the place where Bed Bug works at.

Costume designer Joseph G. Aulisi does nice work with the costumes from the stylish suits that Charlie wears to some of the stylish clothes that Paulie wears. Sound mixer James Sabat does terrific work with the sound as it play into the atmosphere of some of the locations. The film’s music by Dave Grusin does amazing work with the film’s soundtrack as it’s a mixture of jazz and pop to play into the energy of Greenwich Village while music supervisor Harry V. Lojewski provide a fun soundtrack that mixes pop and jazz that include music from Frank Sinatra.

The casting by Bonnie Timmerman is superb as it feature some notable small roles from Joe Grifasi as Jimmy the Cheese Man, Philip Bosco as Paulie’s father, Val Avery and M. Emmet Walsh as a couple of detectives, Tony Musante as Paulie’s Uncle Pete, Jack Kehoe as the undercover detective Bunky, and Frank Vincent as Bed Bug’s crew chief. Geraldine Page is incredible in her brief two-scene performance as Bunky’s mother Mrs. Ritter as a woman who is wondering what her son is doing and later cope with the aftermath as it’s just a very powerful performance. Burt Young is fantastic as Bed Bug Eddie as a local mob hood who is trying to maintain some power in his turf while wanting to find out who stole his money. Kenneth McMillan is excellent as Barney as locksmith/clock repairman who helps Charlie and Paulie as their safecracker where he understand what is going on as well as becoming uneasy about who the money belonged to where he knows something is about to go wrong.

Daryl Hannah is brilliant as Diane as Charlie’s girlfriend who is concerned about what Charlie is doing as well as seeing if he can provide a future for both of them and their child that is on the way. Finally, there’s the duo of Mickey Rourke and Eric Roberts in phenomenal performances in their respective roles as the cousins Charlie and Paulie. Rourke provides a performance that is grounded while also having moments of anger and frustration into the obstacles he is given relating to his dreams of running his own restaurant and his relationship with Diane. Roberts’ performance is filled with charm and an energy that is insatiable to watch as someone that is often upbeat but also naïve about the ways of the world as Roberts is always fun to watch. Rourke and Roberts together have this chemistry that is powerful as well as having this sense of brotherhood as two guys who depend on each other no matter how fucked up one of them is.

The Pope of Greenwich Village is a remarkable film from Stuart Rosenberg that feature top-notch performances from Mickey Rourke and Eric Roberts. Along with its great supporting cast, riveting story, dazzling visuals, and a fun soundtrack, it’s a film that explore the folly of ambition and crime as well as two cousins trying to do whatever they can to reach their dream. In the end, The Pope of Greenwich Village is a sensational film from Stuart Rosenberg.

Stuart Rosenberg Films: (Murder Inc.) – (Question 7) – Cool Hand Luke - (The April Fools) – (Move (1970 film)) – (WUSA) – (Pocket Money) – (The Laughing Policeman) – (The Drowning Pool) – (Voyage of the Damned) – (Love and Bullets) – (The Amityville Horror) – (Brubaker) – (Let’s Get Harry) – (My Heroes Have Always Been Cowboys)

© thevoid99 2017

Memoirs of an Invisible Man

Based on the novel by H.F. Saint, Memoirs of an Invisible Man is the story of a stock analyst who suddenly turns invisible due to an experiment gone wrong as he tries to evade a CIA operative with the help of a woman he had fallen in love with. Directed by John Carpenter and screenplay by Robert Collector, Dana Olsen, and William Goldman, the film is a mixture of comedy, sci-fi, and drama as it relates to a man’s plight in being invisible as Chevy Chase plays the role of the invisible man named Nick Holloway. Also starring Daryl Hannah, Michael McKean, Paul Perri, Pat Skipper, Stephen Tobolowsky, and Sam Neill. Memoirs of an Invisible Man is an intriguing but lackluster film from John Carpenter.

The film revolves around this shallow and bored stock analyst whose life goes upside when he becomes invisible during a botched experiment where he is pursued by a psychotic CIA operative. While it is a simple story, it’s a film that is largely told from the perspective of its protagonist Nick Halloway (Chevy Chase) who doesn’t just cope with what happened to him but also how much it changed him just as he is thinking about moving away from this world where he just thought about himself. While it’s a film and story that is interesting, it does unfortunately suffer from not just in what it wanted to be but also in how conventional it is. The film’s script which was originally written by William Goldman and largely re-written by Robert Collector and Dana Olsen wanted to be a lot of things. A suspense-comedy with some existential drama as well as a romantic-adventure film but it’s never consistent despite some interesting characters in Halloway, the love interest Alice Monroe (Daryl Hannah) and, the antagonist in CIA operative David Jenkins (Sam Neill).

John Carpenter’s direction is quite interesting not just for the visual effects as well as some visual homage to the 1933 James Whale film The Invisible Man. It also plays into the many things that are happening to Halloway where there are interesting bits of character study in the film. Shot largely on location in San Francisco and parts of Northern California, the film does play into something that has Carpenter pay tribute of sorts to other suspense-based films from the city while also wanting to create something that had an air of drama and light comedy. Despite some unique compositions he creates, he is unable to overcome many of the faults in the script as some of the scenes involving Jenkins feel like they come from another film. Even as Carpenter tries to blend so many elements as some of its humor where it feels forced despite its efforts to be very natural where the results never really mesh as a whole. Overall, Carpenter makes an interesting but very underwhelming and messy film about a man becoming invisible.

Cinematographer William A. Fraker does nice work with the film‘s cinematography for many of the scenes set at night in terms of its lighting as well as some naturalistic look for some scenes at the beach in the daytime. Editor Marion Rothman does excellent work with the editing as it‘s mostly straightforward for much of the dramatic and suspenseful moments in the film. Production designer Lawrence G. Paull, with set decorator Rick Simpson and art director Bruce Cone, do terrific work with the look of Halloway‘s apartment as well as the summer home of a friend where he would hide for a while. Costume designer Joe I. Tompkins does fine work with the costumes as it‘s mostly casual including the clothes Halloway would wear over himself when he‘s invisible.

Visual effects supervisor Bruce Nicholson does have some brilliant moments in the way things look in the way the Halloway would be seen to everyone when he‘s invisible though some of it is quite scratchy considering that it was new and probably needed a few things to make it more polished. Sound editors Gordon Ecker and John Leveque do superb work with the sound in the way some of the locations are presented as well as the sound of the tranquilizer guns that Jenkins’ men uses. The film’s music by Shirley Walker is wonderful for its orchestral-based score that features some string-based themes for some of its dramatic and suspenseful moments.

The casting by Sharon Howard-Field does amazing work with the film’s cast as it includes notable appearances from Rosalind Chao as Halloway’s secretary, Patricia Heaton as George’s girlfriend Ellen, Gregory Paul Martin as a friend of George in Richard who tries to flirt with Alice to the annoyance of Halloway, Barry Kivel as a drunk businessman Halloway uses to get a cab, and the trio of Pat Skipper, Paul Perri, and Richard Epcar as Jenkin’s henchmen who try to help him capture Halloway. Jim Norton is terrific as Dr. Bernard Wachs as a scientist who might know what happened to Halloway and how to help him only to be captured by Jenkins. Stephen Tobolowsky is superb as Jenkins’ superior Warren Singleton who sees Jenkins as a loose cannon as he tries to clean up the mess while being someone that could help Halloway. Michael McKean is fantastic as Halloway’s friend George who would introduce him to Alice as he has no clue what is happening while admitting that Halloway has a lot of faults.

Sam Neill is brilliant as David Jenkins as this CIA operative who is quite obsessive in capturing Halloway while being this man that is so cunning and engaging where he offers Halloway a chance to be part of something historic and do things where it’s one of Neill’s finest and more underrated performances. Daryl Hannah is excellent as Alice as a love interest that manages to rise above the weak material she is given as someone that finds Halloway interesting while is someone that needs something different as she provides key reasons to make Halloway and settle for a new life. Finally, there’s Chevy Chase in a marvelous performance as Nick Halloway as a vain stock analyst whose life changes by this botched experiment he wasn’t supposed to be a part of while coming to terms with his condition as it’s Chase being very dramatic where he is funny though some aspects of the humor feels forced due to the faults of the script.

Memoirs of an Invisible Man is a very messy and half-realized film from John Carpenter. Despite some solid performances from Chevy Chase, Daryl Hannah, and Sam Neill as well as some unique but imperfect visual effects. It’s a film that falls very short in what it wanted to be as well as try to be a lot for a wide audience. In the end, Memoirs of an Invisible Man is a lackluster film from John Carpenter.

John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Body Bags - In the Mouth of Madness - Village of the Damned - Escape from L.A. - Vampires - Ghosts of Mars - The Ward

The Auteurs #60: John Carpenter Pt. 1 - Pt. 2

© thevoid99 2016

The Fury

Directed by Brian De Palma and written by John Farris that is based on his novel, The Fury is the story of a young woman who is asked by a man to find his son as they both share psychic powers where the man’s son is being used by an intelligence operative as a weapon. The film is an exploration into the world of telekinesis and other psychic powers where a man asks a girl to find his son and save him from total destruction. Starring Kirk Douglas, John Cassavetes, Amy Irving, Andrew Stevens, Carrie Snodgress, and Charles Durning. The Fury is a chilling yet stylish film from Brian De Palma.

The film is a simple tale about a man trying to find his son one year after he had been presumed dead following a terrorist attack in the Middle East where he asks a young woman who shares the same kind of psychic power that his son has to find him. Yet, it is filled with a lot of suspense where this young woman is just trying to learn more about her psychic powers as she’s afraid to hurt people while learning that an intelligence operative will try to find her so she would be used as a weapon the same way he’s doing to a young man that he’s taken from his former best friend. It is a film that explores the world of the psychic powers where this young woman tries to find some control yet learns about the horrors of what is happening to this young man as she would eventually help this man’s father who just wants him back.

John Farris’ script definitely takes its time to play into the suspense while exploring the world of psychics while making it an adventure film where a father asks a young girl to find his son. Even as its lead character Peter Sandza (Kirk Douglas) just wants to find his son Robin (Andrew Stevens) and give him back a life without danger or secrets since Peter is known as a spy. Yet, the betrayal of his friend Childress (John Cassavetes) makes the search more personal as Peter knows he’s being watched as the only ally he has is a nurse named Hester (Carrie Snodgress) who works at an institute that Robin was briefly was in. When Esther learns that a young girl named Gillian (Amy Irving) is taken in as she has the same powers that Childress wants, she helps Gillian escape in order to help Peter find Robin before he becomes this ticking time bomb that will destroy everything around him.

Brian De Palma’s direction is definitely very stylish in the way he creates some compositions as well as the presentation of some of the film’s horror. Still, De Palma keeps things simple with the opening sequence where Peter and Robin are in the Middle East having some fun with Childress until a terrorist attack occurs where Peter is presumed dead yet he realizes what is really going on. Since much of the film is set in Chicago, De Palma creates some very suspenseful sequences where Peter is being chased by Childress’ men as well as create some small yet suspenseful moments where Gillian deals with her powers. When she’s taken to an institute, things seemed fine until she touches one of her doctors where she has this image of what is happening to Robin where it would amp up the suspense.

The direction would also include some very chilling scenes that involve Robin trying to maintain control of his powers but it becomes very clear that he is also very unstable where a sequence set in an amusement park showcases what he’s becoming. Though there’s a few moments where some of the presentation of the suspense doesn’t work entirely, it does play into the stakes that Peter Sandza and Gillian have to deal with where the eventually confrontation with Robin and Childress does occur. Even as it involves psychic powers and emotions that play into this climax. Overall, De Palma crafts a very thrilling yet fascinating film about a father trying to get back his son from dark forces.

Cinematographer Richard H. Kline does excellent work with the cinematography for many of the film‘s nighttime interior and exterior looks with its lights while keeping things simple for its daytime interior and exterior scenes. Editor Paul Hirsch does brilliant work with the editing where it is emphasized by its sense of style from its jump-cuts, dissolves, and slow-motion cuts to play into the film‘s suspense. Production designer Bill Malley, with set decorator Audrey A. Blasdel and art director Richard Lawrence, does terrific work with the set pieces from the look of the institute as well as the mansion that Childress lives in.

Costume designer Theoni V. Aldredge does some nice work with the costumes as it‘s mostly casual in some parts with the exception of the people working for Childress. Special makeup effects by Rick Baker does fantastic work with some of the makeup work that happens whoever people touch Gillian where they bleed and such. Sound editor Dan Sable does superb work with the sound to play into the atmosphere in some of the film‘s location as well as the scenes of terror. The film’s music by John Williams is amazing for its sublime orchestral score to play into its suspense as well as its use of electronic backgrounds to help build up the suspense.

The casting by Lyn Stalmaster is incredible for the ensemble that is created as it features some early appearances from Daryl Hannah as a schoolmate of Gillian, James Belushi as a beach bum, and Dennis Franz as a patrol officer Peter carjacks. Other small roles include William Finley as a man who follows Gillian early in the film for Peter, Rutanya Alda as a secretary at the institute, Joyce Eaton as Gillian’s mother, Carol Rossen as a doctor at the institute, and Fiona Lewis as Dr. Susan Charles who watches over Robin as she tries to manipulate him for Childress. Charles Durning is terrific as the institute head Dr. Jim McKeever who is aware of Gillian’s powers knowing that Childress will do something bad to her. Andrew Stevens is superb as Robin Sandza as a young man who is taken by Childress where he finds himself as this unstable psychic weapon that has no control of his emotions.

Carrie Snodgress is wonderful as Peter’s lover Hester who helps him to find Gillian as she works as a nurse in the institute while dealing with what is really going on inside. Amy Irving is amazing as Gillian as this young woman who deals with her psychic powers and visions as she also helps Peter find Robin realizing the psychic connection she has with him. John Cassavetes is brilliant as the slimy Childress as a man who realizes the power that Robin and Gillian have as he tries to use them as weapons while also trying to eliminate Peter. Finally, there’s Kirk Douglas in a phenomenal performance as Peter Sandza as a man just trying to get his son back from the man who portrayed him where Douglas brings a lot of gravitas and charm to a good man while also proving to be a badass.

The Fury is a remarkable film from Brian De Palma that features some exhilarating performances from Kirk Douglas, Amy Irving, and John Cassavetes. The film is definitely one of De Palma’s finest films in terms of the horror that he creates as well as create an engaging tale of a father trying to get his son back. In the end, The Fury is a sensational film from Brian De Palma.

Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - Phantom of the Paradise - Obsession - Carrie - (Home Movies) - Dressed to Kill - Blow Out - Scarface - Body Double - (Wise Guys) - The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito’s Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))

© thevoid99 2013

Kill Bill

Written and directed by Quentin Tarantino, Kill Bill is a two-part film about a woman who was left for dead as she is awaken from a four-year coma to kill the man who tried to have her assassinated as well as the assassins themselves. The film is a journey into a woman seeking vengeance for her near-death experience as it blends all sorts of genres from action, samurai films, martial arts films, and westerns as playing the lead role of the Bride is Uma Thurman. Also starring Lucy Liu, Vivica A. Fox, Daryl Hannah, Michael Madsen, Michael Parks, Sonny Chiba, Julie Dreyfus, Gordon Liu, Samuel L. Jackson, and David Carradine as Bill. Kill Bill is a thrilling and exciting epic film from Quentin Tarantino.

Kill Bill Vol. 1

After being nearly killed by the Deadly Viper Assassination Squad during her wedding ceremony, the Bride is comatose as she doesn’t wake up until four years later as she decide to seek revenge for those that tried to kill her including her boss Bill. After her recovery, the Bride travels to Okinawa to meet with the great swordsmith Hattori Hanzo (Sonny Chiba) to create a sword for her. She then travels to Tokyo to go after the first of the four assassins in Yakuza head O-Ren Ishii (Lucy Liu) and her army known as the Crazy 88s. The Bride also decides to go after the assassin Vernita Green (Vivica A. Fox) as she’s closer to reach her target.

Kill Bill Vol. 2

Following news of what the Bride is doing, Bill decides to warn his estranged brother Budd (Michael Madsen) about the Bride coming. With the Bride reaching Budd’s trailer, she gets an unexpected surprise from Budd as he decides to take her sword and bury her alive inside a coffin. Budd calls fellow assassin Elle Driver (Daryl Hannah) about the news as he plans to sell her the Bride’s Hanzo sword for a million dollars. Elle makes the deal but has a big surprise for Budd as she suddenly finds herself dealing with the Bride as the two fight it off. Finally set to go after Bill with information from Esteban Vihaio (Michael Parks), the Bride finally reaches Bill’s home as she learns something that shocks her. After that, the Bride and Bill finally discuss why all of this had to happen.

The films are essentially a two-part story of a woman seeking revenge for the beating she took that left her comatose for four years where on the day of her wedding, she was pregnant with a child. After being awoken from that coma, she decides to after the four assassins that tried to have her killed along with the man who ordered the assassination as she revealed in the opening scene of the film that the baby she’s carrying is his. The loss of what would be their child as well as being comatose for four years would drive this woman known as the Bride to go after the people that tried to kill her as it would be this big long adventure that would span through many places and blend into many different genres.

Quentin Tarantino’s screenplay, that features contributions from Uma Thurman for co-creating the Bride character, has a plot that is very simple yet he creates a story that doesn’t delve into a traditional structure. The first film is told in a non-linear style where it begins with the Bride’s confrontation with Vernita Green that is a short but a very poignant scene that reveals a lot about Green and what she’s become. It’s a moment where the Bride shows some remorse for her actions as the first film moves into very different scenes that includes a back story about O-Ren Ishii told in an animated sequence about how she became an assassin after the death of her family in the hands of a Yakuza lord. Another character that is presented in the first half of the story, aside from Hattori Hanzo, is Ishii’s right-hand woman Sofie Fatale (Julie Dreyfus) who was also present at massacre.

While Tarantino employs a non-linear narrative structure for the most of the first film, it’s restrained for the second film where he begins the story with the wedding rehearsal that Bill attends that would lead to the attack. It also reveals more about the other assassins in Budd and Elle Driver where the former has become a broken-down bouncer for a strip club. Another element that is revealed in the second film is a story about the Bride’s training with a cruel martial arts teacher named Pai Mei (Gordon Liu). Once the story progresses where the Bride finally reaches Bill, a twist is revealed that would impact everything the Bride had gone through where she and Bill finally have their own confrontation. Notably as it revealed why the Bride left Bill in the first place during an assignment.

It’s not just the structure and the stylish dialogue that makes Tarantino’s screenplay so interesting but also the way he creates the characters. Tarantino does give each assassin each time to establish their characters where O-Ren Ishii is a Yakuza lord, Vernita Green is a mother, Budd is a broken-down strip club bouncer who lives in a trailer in Texas, and Elle Driver who is still an assassin that is very close to Bill. Each have their own history with the Bride which does create some complications for the way she deals with her enemies though there are those that she just truly despises. When it comes to Bill, Bill is not a traditional antagonist as he’s someone who truly cherishes the Bride as what he did to her was part of who he is as a killer.

Tarantino’s direction is definitely stylish in terms of the presentation he wants to create for both films. The first film is largely a samurai picture with a mixture of action and suspense that includes an anime-style animated sequence to reveal the story of O-Ren Ishii. Through some very stylish shots for the fight scenes, Tarantino captures the intensity of the fights including the Bride’s battle with the Crazy 88s as it includes some beautiful moments such as the fight inside a blue room. Tarantino knows when to slow things down to establish what is going on as he creates some lovely moments for scenes in Tokyo along with some interesting shots such as Elle’s visit to the hospital to poison the already comatose Bride.

For the second film, Tarantino employs a different mix of genres such as martial arts and the western where the latter plays out to the world of Budd and the eventual fight between the Bride and Elle. In the scenes set in Texas, Tarantino employs a wider canvas to tell the story such as the wedding rehearsal and the scenes involving Budd in his trailer. Tarantino adds an element of suspense to these moments when the Bride is set to confront Budd that is later followed by this chilling moment of horror when the Bride is buried alive inside a casket as Tarantino maintains this very claustrophobic framing as if there’s a possibility that she won’t survive. Still, Tarantino knows the Bride has to survive where he creates some very captivating moments that would lead to the ultimate confrontation between herself and Bill.

The way Tarantino directs the ultimate final meeting between the Bride and Bill definitely lives up to everything that had been expected except there’s a lot of surprises in store. There’s a bit of low-key humor but also heartfelt moments that shows that Tarantino can create something that is very innocent. This is of course followed by tense, dramatic moments involving Bill and the Bride where it’s all about why Bill had her killed and why the Bride had to seek revenge. It is truly something that is unexpected by Tarantino as he creates something that is more than a revenge story but also a love story. Overall, Tarantino creates a truly exciting yet engrossing genre-bending epic that does a lot to entertain and more.

Cinematographer Robert Richardson does great work with the very vibrant and colorful photography from the stylish looks of the scenes in Japan in the first film to the more gritty look of the desert scenes in second film. Editor Sally Menke does brilliant work with the editing to create some amazing cuts for the film‘s action along with some slow, methodical cuts for the film‘s suspenseful moments. Production designer David Wasco, along with set decorator Sandy Reynolds-Wasco and art director Daniel Bradford for both films, does excellent work with the set pieces such as the hospital room that the Bride was in plus the wedding chapel and Budd’s trailer while the Japanese scenes featured work by production designer Yohei Taneda and set decorator Yoshihito Akatsuta for the set pieces such as Hanzo’s bar and O-Ren Ishii’s home base.

Costume designers Kumiko Ogawa and Catherine Marie Thomas do wonderful work with the costumes from the Bruce Lee-inspired look of the Bride‘s jumpsuit during her battle with the Crazy 88 to the clothes that O-Ren Ishii and Elle Driver wears. Visual effects supervisor Frankie Chung does superb work with the minimal visual effects used for some of the film‘s action and fight scenes that occur in the film. Animation director Katsuhito Ishii does terrific work with the first film‘s lone animated sequence that tells the story of O-Ren Ishii‘s early life. Sound editor Wylie Stateman, along with sound designers Peter Michael Sullivan, Scott Sanders, and Harry Cohen (for the first film) plus Dino Dimura (for the second film), does fantastic work with the sound to capture the atmosphere that occurs in both films such as the sound effects in the Bride‘s battle with O-Ren‘s army as well as the chilling scene inside the coffin in the second film.

The films double-soundtrack features a wide array of music that plays up to mesh of styles of the genre. Supervised by Mary Ramos for both film soundtracks and Michelle Kuznetsky for the first film soundtrack, the first volume consists a wide range of music from genres like 60s garage rock, score music, 70s soul, and electronic music from acts like Nancy Sinatra, Bernard Herrmann, Louis Bacalov, Meiko Kaji, Isaac Hayes, Neu!, Al Hirt, Santa Esmeralda, Gheorge Zamfir, Quincy Jones, and some original score pieces by Wu-Tang Clan’s the RZA who provides a mixture of hip-hop and electronic music to play up the momentum of the battle.

The second soundtrack consists a different style of music ranging from 70s soul, pop, country, and electronic music from Luis Bacalov, Malcolm McLaren, Meiko Kaji, Charlie Feathers, the RZA, and Johnny Cash. The film also features original music by Robert Rodriguez and his band Chingon as it plays to a mixture of Tex-Mex blues and mariachi while the soundtrack also features Spaghetti Western-inspired music that largely features the work of Ennio Morricone. Both soundtracks are definitely among some of the best usage of music ever assembled for these films.

The casting by Koko Maeda and Johanna Ray is incredible for the large ensemble that is created for both films. From the first part, there’s notable small roles from Michael Bowen as the perverted hospital orderly Buck, Sakichi Sato as a man the Crazy 88s humiliate that they call Charlie Brown, Yuki Kazamatsuri as the House of Blue Leaves proprietor, James Parks as the policeman Edgar McGraw, Jun Kunimura as a Yakuza head who insults O-Ren, and Ambrosia Kelley as Vernita’s four-year old daughter Nikki. From the second film, there’s wonderful performances from Helen Kim as an assassin that tries to kill the Bride, Larry Bishop and Sid Haig as people who work at the strip club Budd works at, Chris Nelson as the Bride’s fiancee Tommy Plympton, Bo Svenson as the reverend at the Bride’s wedding rehearsal, Jeannie Epper as the reverend’s wife, Samuel L. Jackson as the organist that was to play at the wedding, and Perla Haney-Jardine as a little girl that the Bride meets.

Other noteworthy small roles include Michael Parks playing a dual role as Texas Ranger Earl McGraw in the first film and Bill’s old friend Esteban Vihaio in the second, Gordon Liu as the Crazy 88s leader Johnny Mo in the first film and the cruel teacher Pai Mei in the second one, Chiaki Kuriyama as O-Ren’s sadistic bodyguard Gogo Yubari, Julie Dreyfus as O-Ren’s lawyer Sofie Fatale, and Sonny Chiba as the legendary swords maker Hattori Hanzo. In the roles of the former DiVAS assassination team, there’s brilliant performances from Vivica A. Fox as Vernita Greene who tries to make amends with the Bride, Lucy Liu as the skilled yet darkly-humored O-Ren Ishii who has a unique history with the Bride, Michael Madsen as Bill’s broken-down brother Budd who is filled with a lot of regret as he deals with the Bride, and Daryl Hannah as the vicious Elle Driver who seems to have a lot of animosity towards the Bride.

The late David Carradine is incredible as Bill as this very charismatic yet sadistic man who deals with the Bride’s vengeance as well as everything that happens where Carradine brings a performance that is truly engaging as he creates an antagonist that is quite likeable. Finally, there’s Uma Thurman in an outstanding performance as the Bride as a woman hell-bent on getting revenge for what happened to her. Thurman’s performance is full of complexities as a woman who has some charm as well as someone with remorse for her actions as there’s also a chilling restraint to her role. It’s definitely Thurman going all out and more as she creates a performance that is simply iconic.

Kill Bill is a magnificent two-part film from Quentin Tarantino that features a magnificent lead performance from Uma Thurman. With its amazing blend of genres, stylish production value, a killer soundtrack, and a brilliant ensemble cast that includes David Carradine, Lucy Liu, Daryl Hannah, Vivica A. Fox, Michael Madsen, and Sonny Chiba. Both films as one is truly an unforgettable experience as though both films does have something for everyone. In the end, Kill Bill is a phenomenal two-part film from Quentin Tarantino.

Quentin Tarantino Films: Reservoir Dogs - Pulp Fiction - Four Rooms: The Man from Hollywood - Jackie Brown - Grindhouse: Death Proof - Inglourious Basterds - Django Unchained - The Hateful Eight - Once Upon a Time... in Hollywood

Related: The Auteurs #17: Quentin Tarantino - Growing Up with Quentin Tarantino

© thevoid99 2012

LAMB Movie of the Month: Blade Runner (1992 Director's Cut)

Originally Written and Posted at Epinions.com on 6/12/05 w/ Additional Edits & Revisions.

Based on a novel by Phillip K. Dick (whom the film was dedicated to), Blade Runner is a stylish, film-noir detective story set in the futuristic 2019 Los Angeles about a retired cop who returns to the scene to eliminate four murderous androids known as replicants. Directed by Ridley Scott and adapted into script by Hampton Fancher, David Peoples, and Darryl Ponicsan, the story is set in traditional film-noir with elements of character studies, conflict, and dark humor that only Ridley Scott can come up with. With a cast that includes Harrison Ford, Rutger Hauer, Sean Young, Daryl Hannah, Edward James Olmos, M. Emmet Walsh, Brion James, and Joanna Cassidy. Blade Runner is a brilliant yet dark film from Ridley Scott.

It's 2019 in Los Angeles where the world is overtaken with many wondering who are the humans and who are the replicants. The latter of which, lives in a colony owned by a corporate head named Tyrell (Joe Turkel) as a new replicant named Leon kills an interrogater named Holden (Morgan Paull) as he escapes with three new replicants. A former blade runner named Rick Deckard (Harrison Ford) is contacted by a replicant named Gaff (Edward James Olmos) where Deckard is asked by his former superior Bryant (M. Emmet Walsh) to hunt down the four escaped replicants. Deckard takes the job as he meets Tyrell and his assistant Rachel (Sean Young) where Tyrell reveals information on the new replicants led by Roy Batty (Rutger Hauer). After asking Rachel some questions to see how the interrogation process happens, Rachel divulges something that adds to Deckard's suspicions.

The four replicants arrive to Los Angeles where Leon and Batty search for the inventor J.F. Sebastian (William Sanderson) while Deckard begins his investigation as he finds one of them in a woman named Zhora (Joanna Cassidy). Deckard later receives a visit from Rachel who asks about her interrogation and the images of her head as she wonders about her true self leaving Deckard confused. While being pursued by Bryant and Gaff, Deckard gains information from Chew (James Hong) about the replicants and what they're after. A young woman named Pris (Daryl Hannah) meets Sebastian as they befriend each other while Deckard finds one of the replicants as Rachel becomes a suspect. With Pris introducing Sebastian to Batty, they reveal what they from Sebastian as Deckard also learns about what Rachel is going through. This would lead to an all-out battle where Deckard has to make choices as he deals with the psychotic Batty.

With a wonderful screenplay that is filled with playful one-liners and stylish subtext, the credit goes to director Ridley Scott for bringing his visual approach to storytelling on the forefront. He brings in a mix of Asian cinema, classic film-noir, and post-modern sci-fi all into a stylish, grand spectacle with bleak settings. In his technical brilliance, Scott's use of slow-motion shots, entrancing camera angles, and eerie settings shows his brilliance to convey moods onto a single frame. Clearly, his inspiration was in film noir since the film is partially inspired by classic detective stories and it shows the brilliant range of Scott. He evens adds a bit of humor to balance out the film, even with the script that has that one famous line, "Wake up, time to die" along with some memorable one-liners.

In the acting, Scott relies on the script as his source and with the script, he helps conveys the tortured soul of Deckard along with a complexity of what he might or might not be. Even the villains, notably Batty has a complexity that isn't stereotypical of villains seen before and since. There's not many themes other than the post-apocalyptic world of human replicants trying to wipe out the human race. It's more about trying to figure out what you are, even if the life span is very short. While the love story of Deckard and Rachael might seem to be added on, it has depth since it's something that Deckard can fall back on, even if the timing is brief.

If Ridley Scott achieves himself on the technical side, many credit goes to his film crew, whom Scott has often relied on. Cinematographer Jordan S. Cronenweth brings a vast outlook with noir-like lighting textures in several interior, night scenes, and the neon lighting helps give the film its Asian, post-modern look. Production designer Lawrence G. Paull and art director David Snyder help bring that vision to life with their use of big screens, Asian architecture in the seedy L.A. world, and that grand, posh look of Tyrell's world as the film remains in its futuristic outlook. Helping out in the visuals is Douglas Trumbull who brings in great special effects for many of the film's visual sequences involving flying cars and the world of Tyrell. With editor Terry Rawlings bringing a nicely-paced feel to the film, the movie doesn't lose sight of its outcome or makes anything boring. Then there's the creepy electronic score of Vangelis who just uses hypnotic textures and atmospheres to bring the future closer to the screen with each note bringing more suspense as the film progresses.

Then you have the amazingly, talented cast that is brought to the film. While Joanna Cassidy and the late Brion James had small, villainous roles, they each do have memorable moments, notably James early in the film and in the scene where he says, "Wake up, time to die". William Sanderson is wonderful in his innocent role as Sebastian with his reclusive stature and childlike approach to the performance while Joe Turkel is excellent in his eccentric, calm performance as the dark creator Tyrell. While Edward James Olmos doesn't have much to do in the film, he is very memorable as the replicant Gaff with his weird smile and even stranger lines, including the final one as he brings some of the dark humor to the film. Noted character actor M. Emmet Walsh is excellent as Deckard's former superior who brings in a bit of sleaze and humor to a very memorable performance. Sean Young is wonderful and complex in her subtle role as Deckard's replicant love interest but it's Daryl Hannah who really stands out in her small role as one of the evil replicants with her girlish innocence and crazy personality where she gets into some intense action.

Rutger Hauer gives a great performance as the villainous yet complex Roy Batty. Hauer uses his charm, wit, and face to give a villain that many will remember while making him more depth-driven than other villains. Hauer makes sure his character isn't just a totally evil man but one who knows what he wants. Even in the final moments of the film, Hauer brings in some of his best acting into the forefront as you can see why he's a cult favorite among film buffs. Harrison Ford delivers one of his best performances as Rick Deckard with a mix of weariness and determination. While he's playing the hero, he makes sure it's one that people can relate to since he has no desire to kill but when he's brought back, it's only with reluctance. Ford doesn't make himself the usual tough guy in some of the fight scene he's in. He's not Han Solo or Indiana Jones but a man that has a lot of problems. Ford makes sure that Deckard is one that an audience can sympathize with while we root for him in his quest to stop the bad guys.

Blade Runner is a visually-exotic yet haunting film from Ridley Scott that features a marvelous performance from Harrison Ford. Along with amazing technical work as well as superb ensemble cast that includes Rutger Hauer, Sean Young, Daryl Hannah, M. Emmet Walsh, and Edward James Olmos. It is truly one of the great sci-fi films ever created due to its visual effects as well as an entrancing story. In the end, Blade Runner is a magnificent sci-fi noir film from Ridley Scott.

Related: Blade Runner 2049

Ridley Scott Films: (The Duellists) - (Alien) - (Legend) - (Someone to Watch Over Me) - (Black Rain) - (Thelma & Louise) - (1492: Conquest of Paradise) - (White Squall) - (G.I. Jane) - (Gladiator) - (Hannibal) - (Black Hawk Down) - (Matchstick Men) - (Kingdom of Heaven) - (A Good Year) - (American Gangster) - (Body of Lies) - (Robin Hood (2010 film)) - Prometheus - (The Counselor) - (Exodus) - The Martian - (Alien: Covenant) - All the Money in the World

© thevoid99 2012